Now, more than ever, it’s important for artists to understand that they’re running a small business.
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An ISBN is a 10- or 13-digit number that is used to identify a book from a specific publisher. Once your book is in print, you can register the title and link it to the ISBN here.
Honestly? Not really.
However, you definitely need an ISBN if you’re planning to release the book through a distributor (like Diamond Comics Distributors) and/or to a retail outlet (like Amazon).
If you’re just selling books directly to readers through your site, you don’t need an ISBN.
I recommend that you buy your ISBNs from R.R. Bowker. POD companies may offer an ISBN, but if you buy it from a reseller, you take the risk that you may not be listed as the book’s actual publisher. CreateSpace is a notable exception. Their ISBNs are legit.
The ISBN is printed on your book’s copyright page, and it is incorporated into the barcode that should appear on the book’s back cover.
The ISBN is used (along with the retail price of the book) to create the barcode. You can create a barcode easily online or you can purchase software like Barcode Producer to create them.
The retail price is coded in a five-digit number.
You print the barcode on your book as part of your back cover. Here are some guidelines — including how to place it properly on the back cover.
Today’s show is brought to you by Wacom — makers of the powerful, professional, portable Wacom One! Creators of longform comics face unique challenges in building an audience on the Web. Or do they?
Questions asked and topics covered…
With recent articles such as “Email newsletters — Everything old is new again,” and news of Substack luring away top talent from Marvel and DC, many creators are laser-focused on email outreach. They’re eager to leave behind social media and jump to a delivery system free of algorithms! However, that leaves an important question: How to get new people to sign up!
The content you are trying to access is only available to members.Today we’re going to talk about a sentence that every last one of us have uttered: I really feel like if I could get more people to see the comic they would actually like it… There’s not a comics creator alive who doesn’t feel that way. But it’s a mindset that misses an important point, and until you understand it, I think it’s going to hold you back.
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The Crossbar-I rule is one of the few “cardinal” rules in comics. Everyone tells you to follow it, but few people explain why. It actually has very simple typographical roots that make it a must-follow guide to good lettering.
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In the early days of webcomics, a preferred method of promotion was the ol’ link exchange. “I’ll link to your comic if you link to mine.” Today’s crowdfunded business model requires a little twist on that old axiom.
Exposing your patrons to someone else’s Patreon campaign isn’t only a good idea, it’s great content!
Here’s what I mean. I found one thing to be unquestionably true for me: The more content I post, the more pledges I get.
This is especially true for exclusive posts (as I discussed in my piece on scarcity).
So, every once in a while, I search Patreon for people who are doing something similar to what I’m doing.
Then I approach the person about a content trade. I’ll post something of theirs exclusively to my patrons. (Something they’ve already offered to their patrons.) They can also post something from my Patreon archive for their patrons.
It’s a win-win.
We both get content that we think our patrons will enjoy. We both get an opportunity to expose our work to the people pledging to the other person.
And, of course, when both of you promote the exchange on your own social media networks, it’s twice the promotion.
I know the fear. “They’ll like the other person better and ditch me in favor of them.”
I can tell you from experience I get a lot of new patrons who are continuing their pledge to the other person. (I know because I always click that button to see who else they’re supporting.) For me, it has been a “rising tide lifts all boats” situation.
How to handle death in a comic storyline without offending your readers. Also — facing Writer’s Block wile writing a long storyline requires special handling.Questions asked and topics covered…
Today is a great time to bump up your ComicLab membership to the $10 tier! Patreon backers at that level will get exclusive access to livestream recording sessions — as well as an archive of previous livestreams!Brad Guigar is the creator of Evil Inc and the editor of Webcomics.com Dave Kellett is the creator of Sheldon and Drive.Listen to ComicLab on…
ComicLab is hosted on Simplecast, helping podcasters since 2013. with industry-leading publishing, distribution, and sharing tools.
What do you consider a “professional” cartoonist? Many people define a professional as someone who earns money for their work. But is that all there is?
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Between the COVID pandemic and a costly bottleneck in the Suez Canel that had ripple effects throughout the globe, disruptions in supply chains are wreaking havoc on retail business. And the holidays are just around the corner. Is that good news for independent artists?
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